Polyphonic ORCHESTRATION | 8 Orchestra Textures | A Web of Counterpoint

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In this video we explore the Polyphonic Orchestral Texture.
🎻Heterophonic ORCHESTRATION | Simultaneous Variations • Heterophonic ORCHESTRA...
📚 Get the book! Creative Orchestration by George Frederick McKay geni.us/BawBjz
The polyphonic texture is when you use a contrapuntal fabric in an orchestral setting, the kind of counterpoint you might be used to hearing in a Bach fugue or invention.
We'll look at John Williams' Anakin's Theme from The Phantom Menace as an example of using the Polyphonic texture while still featuring a top line melody. We'll follow that up by writing a new orchestration of the theme from Breath of the Wild using the Polyphonic texture in the strings.
8 Orchestral Textures
Intro: • The 8 Orchestral Textu...
Monophonic: • Monophonic ORCHESTRATI...
Chordal: • Chordal ORCHESTRATION ...
Polyphonic: • Polyphonic ORCHESTRATI...
Heterophonic: • Heterophonic ORCHESTRA...
Onomatopoeic: • Onomatopoeic ORCHESTRA...
Polythematic: • Polythematic Orchestra...
Polyrhythmic: • Polyrhythmic ORCHESTRA...
Homophonic: • Homophonic ORCHESTRATI...
BONUS Hybrid Textures: • Hybrid Texture ORCHEST...
FINALE All 8 Textures Medley: • 8 Orchestral Textures:...
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Опубликовано:

5 май 2021

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Комментарии : 44

@RyanLeach 2 года назад

🎻Heterophonic ORCHESTRATION | Simultaneous Variations ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-P7zDYSA8fDo.html

@jameseverett4976 Год назад

Pro tip: PLEASE PLEASE play 🔊each piece BEFORE talking about it. Nothing said about it has any meaning until I hear the sound🎶 first. There is no way to process the word descriptions without first hearing 🎧what the descriptions are referring to. It's like trying to describe an extremely complex shape🎊 without seeing it, which is why "a picture is worth 1000 words" [more like a few million]. But musical tapestry is even more complex, and words don't begin to describe it. Doing this will improve your video's and the viewer's comprehension 1000%☑ and put you far above any other music teaching videos. ♥🎯

@henrique_zsp 2 года назад

- The goal is to have a unified but moving fabric, so similar timbre. - Give the cadence something special. - No crossing between lines. - Oblique movement: when one line sustains another moves. - Melody is stil king and the other lines are countermelodies if anything. I got the last video from the series on my recommended and found it so brilliant that I'm following the whole series now. From this video I liked the point about making the cadence special and richer with a little ear candy so-to-speak. Also noticed how you kept good separation between the outer lines for the texture to take effect.

@ComposerRocks 2 года назад

Ryan, you've inspired me to purchase McKay's book, Creative Orchestration: A Project Method for Classes in Orchestration and Instrumentation. I find this and similar videos from you extremely valuable and always appreciated.

@paulomtts 3 года назад

Great video Ryan, me and another friend who watched it too were commenting on how good it is to have a video on a somewhat unusual texture for contemporary music. I actually bought the books you recommended and I’ve just gotten to the 8 textures part on McKay’s book. Looking forward to the next videos!

@RyanLeach 3 года назад

Nice, glad to hear you picked it up there's a lot of great advice in there beyond the textures.

@Tyrell_Corp2019 2 года назад

Love this series. Thank you!

@dimensionstomorrow 3 года назад

Super helpful. I’m loving this series!

@RyanLeach 3 года назад

Glad to hear it, much appreciated!

@ArtemTarkovskyi 2 года назад

Thank you for sharing this useful content!

@braydenjones6561 Год назад

That was really gorgeous music. Thanks so much for the video!

@benmclaughlin6490 Год назад

thanks Ryan, I am finding this series of Orchestral Textures really helpful. In fact, the detailed intro and descriptives are on the money for me as I want background and context. Too often ppl jump straight to the score assuming too much of the audience. Bravo!!

@ShaharHarshuv 2 года назад

I like the technique of first blocking out the chord'r voice leading and then adding passing tones, rythmic variaty, etc

@jameseverett4976 Год назад

I like the technique of playing the musical example, THEN talking about it

@viniciuspessoa3872 2 года назад

That descending 2 violin, 3rd bar, sounded very final fantasyesque, nice!

@ReBONEgg 3 года назад

Thanks for this!

@RyanLeach 3 года назад

You're welcome!

@user-tl5vj8xo9f 3 года назад

cool!! thank you

@RyanLeach 3 года назад

No problem!

@andreasalas9918 Месяц назад

Ryan, how do you decide which are the bowings that work better for the strings? Thank you so much for your videos.

@GUPRPEET-Singh 3 года назад

Man.. your stuff is great👍... Plz make videos where you composing orchestral music in your DAW. That would be awesome 👍

@RyanLeach 3 года назад

Thank you, I will!

@marriowhyte3336 4 месяца назад

what program you use to write your music with ?

@sugengakhmad3939 2 года назад

hey bro you know name song at 0:33 sry bad english, i like this conrapuntal session

@user-pf2lr7pp2q Год назад

Hi! Ryan Leach I have a question about the difference between Polyphonic texture and Polythematic texture. Polyphonic texture: one obvious theme + some supporting characters by Counterpoint Polythematic textures: several equal themes almost sounding at the same time Do I understand correctly? thanks your answer

@RyanLeach Год назад

Polythematic: Independent themes/melodies that are intentionally contrasting. eg. Staccato vs. legato, strings vs brass, etc. Polyphonic: Independent themes/melodies that all weave together into a single fabric. eg. Legato violin and legato cello

@jerrychau94 Месяц назад

You should hear the music at 5:04 first, then watch the rest.

@ChrisWolfMusic-mh8uy Год назад

Hi Ryan. I'm trying to apply each of these eight textures to a melody I picked out, the first few bars of Lukas Graham's "Seven Years." This melody doesn't leave a whole lot of space. How would you apply this texture to a melody that doesn't leave a lot of open room for countermelodies?

@RyanLeach Год назад

Good question. If you had to force it I would just keep the supporting lines very simple. But as you are probably realizing, not every texture works for every situation so you might just have to do the best you can and move on to the next one

@ChrisWolfMusic-mh8uy Год назад

@@RyanLeach thanks for the response! I figured the correct answer would be along the lines of "not every texture works for every melody". I agree wtih you, if it wasn't for the point of the exercise, this isn't the texture that comes to mind when I hear this melody. Thanks again :).

@gavinleepermusic 2 года назад

Love the ideas in this one! Still can't help but wish the Am7 were a G/A haha

@RyanLeach 2 года назад

lol I like that RU-vid's suggested "auto responses" for this include "Maybe one day" and "You can do it!"

@ArtemTarkovskyi 2 года назад

Hello Gavin Leeper! I from your discord)

@maderasage 11 месяцев назад

Hello Ryan, what is your opinion in relation to this type of textures and classical writing, because I see for example parallel 5ths from measure 5, between cello and violins 2

@RyanLeach 11 месяцев назад

Where is it? Parallel fifths would be a fifth moving to a fifth in the same direction. And the “rule” about parallel fifths is to ensure independence between parts which with fifths is in reality never going to stand out as a problem with inner voices.

@maderasage 11 месяцев назад

Hello Ryan. in bars 5 and 6 there are 5ths by opposite movement between cellos and violins 2, on a downbeat, but in bars 6 and 7, also between cellos and violins 2, there are parallel 5ths on downbeats @@RyanLeach

@RyanLeach 11 месяцев назад

Opposite movement is contrary motion, not parallel motion. And yes in strict counterpoint classes parallel 5ths with an inner voice are against the "rules", but even Bach has examples of parallel 5ths so outside of class don't stress about them too much. Parallel octaves stand out more, and again with inner voices are a pretty low concern.@@maderasage

@maderasage 11 месяцев назад

Thanks for taking the time to answer me, and also thanks for the advice.

@GSunNo Год назад

Are maj7 even allowed in counterpoint?

@RyanLeach Год назад

Counterpoint is just multiple simultaneous lines. You can even have atonal counterpoint! So no maj7s aren’t “allowed” in 18th century counterpoint textbooks but they’re very much a part of real music

@GSunNo Год назад

Yes, yet I've not seen so many textbooks or tutorials on modern counterpoint. Any tips?

@RyanLeach Год назад

Maybe check out the Bob Pilkington book on jazz counterpoint

@robshrock-shirakbari1862 2 года назад

I love your videos! But five minutes of talking before actually playing the example… aaagh!!! So much description lost without any context. Please let us hear the example at least once before you describe so much of what is going on. Then we can better absorb and listen for those elements. Again, I love your videos… but I felt my head starting to explode the more you kept describing it, I had to actually skip ahead to hear the damn thing. Lol Keep up the great work, anyway. Peace

@jameseverett4976 Год назад

I just left a request for the same thing. I'm lost until I hear something to put the descriptions and discussion into context. "Talking about music is like dancing about architecture" [forget who said it, but he was famous].